Global action star Liam Neeson stars in Non-Stop, a suspense thriller played out at 40,000 feet in the air. During a transatlantic flight from New York City to London, U.S. Air Marshal Bill Marks (Neeson) receives a series of cryptic text messages demanding that he instruct the airline to transfer $150 million into an off-shore account. Until he secures the money, a passenger on his flight will be killed every 20 minutes. The film reunites Neeson with Unknown director Jaume Collet-Serra and producer Joel Silver, and co-stars Golden Globe Award winner Julianne Moore

Composer John Ottman (The Usual Suspects, Valkyrie) ratches up the tension with a riveting, propulsive score.

Didn't know Ottman scored anything between Jack the Giant Slayer and the upcoming X-Men film. Looking forward to this, hopefully Ottman didn't have to Zimmerfy his sound, like so many other composers on action flicks

I was hoping Edwin contributed! When talking with him during my trip to L.A. I realized he had a considerable hand in some of my favorite Ottman scores -- Resident and Unknown. Can't wait to hear his work alongside/supporting Ottman's for Non-Stop!

I was hoping Edwin contributed! When talking with him during my trip to L.A. I realized he had a considerable hand in some of my favorite Ottman scores -- Resident and Unknown. Can't wait to hear his work alongside/supporting Ottman's for Non-Stop!

Ha! one of the tracks is called Usual Suspects, another movie that Ottman worked on.

That's toooooo funny

Even funnier is that one of the tracks is called "F*** It". Can't think of many soundtracks to PG-13 movies where the one F-bomb ends up in the track titles. (After Intrada's THROW MOMMA FROM THE TRAIN, this makes two.)

I presume it's the moment in the film (which I haven't yet seen, but would like to) where the villain gives themselves away to Neeson's character and says the words.

I thought the movie was quite good as well. The music was of course great. Edwin really tried to be NON Hans Zimmer'y and I think it really works. That is no disrespect to Hans, but we all know many films have that certain sound and Edwin really tried to steer clear of that and be original. As much as he could when you are told to stop writing themes and make it sound darker. Ottman did a good job offering advice and tips to Edwin as he helped with cues.

I thought the score was overly obvious and generic. I also found myself wishing that the score had waited to kick in until the first text message was received. Prior to that there was no need for music and the film would have played better dry.

I thought the score was overly obvious and generic. I also found myself wishing that the score had waited to kick in until the first text message was received. Prior to that there was no need for music and the film would have played better dry.

Sadly Joel Silver disagreed and the composers were told to do exactly what he wanted. More memorable and effective music was left on the cutting room floor. I heard some of it and it was great.